Experiencing Asian Art at Amistad: A Journey of Resilience and Serenity

The following paper was written by Philip Dorsett, a former Amity Student at our Amistad campus, who discussed the effect of environment on his experience. Philip’s story is one of incredible resilience and we wanted to share his words in hopes that it might inspire others. Thank you Philip for your willingness to share with our community—

“When I arrived at Amistad in February, stepping out of prison after 19 years due to a wrongful conviction, I was hit by an unfamiliar world filled with art, colors, and the sound of running water. Amistad is a reentry center run by the Amity Foundation in South Central Los Angeles. This place feels more like a sanctuary than a reentry program. After years in a cell, the presence of gardens, statues, and fountains around me was a shock. For someone who spent their late teens and most of their adult life behind bars, seeing a tree or hearing the sound of water felt alien. In prison, art was often discouraged, even punished. Authorities labeled any non-white cultural art as “gang-related,” which often resulted in Artist being placed in solitary confinement. But at Amistad, art wasn’t just accepted; it was everywhere, from statues of Buddha to depictions of Hindu gods. And for me, that art has become a tool for healing and finding balance as I transition back into the community.

Amistad has a range of art pieces that span different cultures and faiths, but the ones that struck me most were two wooden Buddha heads, side by side. At first glance, they looked similar, yet each had a unique style that, I would learn, connected to its origin. One, with its rounded head, is from Cambodia. The other, with a flame-like point rising from its head, is from Thailand. These Buddha statues aren’t just art; they’re symbols of two very different ways of seeing Buddhism, reflecting the unique cultural and spiritual interpretations of each place. In this essay, I’ll share what these differences mean and how they mirror the journey I’m on, balancing resilience and peace as I try to find my way back into society.

The Role of Amistad and Art in My Healing

Amistad’s mission goes beyond just providing a place to stay. It’s about creating a supportive space where art, culture, and personal growth intersect. After years of confinement, where any form of creative expression was limited, I felt like I’d stepped into another world. Research shows that art can be a powerful tool for healing, especially for people coming out of incarceration. According to Williams, “Art therapy allows individuals to express emotions and confront past trauma, promoting psychological well-being and social integration” (14). For me, the art at Amistad is more than decoration it’s a lifeline. It has helped me process the past and feel more grounded in the present.

Thai and Cambodian Buddha Sculptures: A Brief Overview

The two Buddha heads at Amistad represent two rich cultural traditions from Southeast Asia: Thailand and Cambodia. While both countries trace their Buddhist roots back to India, each developed its own unique way of representing the Buddha. Cambodian Buddhist art, especially from the Angkor period (9th-15th century), has a solid, grounded look, which reflects the architectural style of the Khmer Empire. Cambodian Buddha statues often have rounder heads and simpler usnishas (the cranial bump on top of the Buddha’s head), showing a preference for simplicity and strength over intricate designs (Jessup and Zephir 104).

On the other hand, Thai Buddha statues, particularly from the Sukhothai period (13th-15th century), have a more elongated, graceful style. A flame-like usnisha became popular during this period, symbolizing enlightenment. This style reflects a more ethereal and divine interpretation of the Buddha. The difference in styles between Cambodian and Thai statues goes deeper than aesthetics—it’s a reflection of how each culture interprets Buddhism itself (Woodward 45).

Cambodian Art and Its Connection to Stability

The Cambodian Buddha head at Amistad, with its simpler, more rounded design, feels sturdy and grounded. Cambodian Buddhist sculpture was heavily influenced by the Angkor Empire’s architectural values, which emphasized strength and resilience. Leaders like Jayavarman VII, a king who promoted both Hinduism and Mahayana Buddhism, left behind art that was built to last, echoing their beliefs in stability and endurance. Buddhist statues from this era reflect those qualities, portraying a Buddha that feels rooted and strong. Art historian Thierry Zephir writes, “Angkorian sculptures evoke a spiritual groundedness, with figures that are massive and unmovable, portraying strength as a core virtue” (Jessup and Zephir 109). For many Cambodians, the Buddha symbolizes resilience, a quality deeply tied to their cultural history of enduring hardships.

Thai Art and the Image of the Divine Buddha

In contrast, the Thai Buddha head at Amistad has an otherworldly, almost celestial look, with its flame-like usnisha pointing upward. Thai art, especially during the Sukhothai period, places a strong focus on the divine qualities of the Buddha. The flame finial, a distinctive Thai feature, represents spiritual radiance and enlightenment, reflecting the Thai interpretation of Buddhism as a path to transcendence (Stratton and Scott 62). The Thai Buddha is depicted with soft, elongated features, giving it a serene, peaceful expression that feels removed from earthly concerns. Scholar Hiram Woodward notes that “Thai Buddhist sculptures from the Sukhothai period depict the Buddha with an emphasis on inner peace and transcendence, embodied in the flame finial that crowns many statues” (78). To me, this style represents a kind of spiritual lightness that feels like the opposite of the grounded stability of the Cambodian Buddha.

A Symbolic Comparison: Resilience vs. Transcendence

Looking at these statues side by side, I see two different ways of thinking about Buddhism and, by extension, life itself. The Cambodian Buddha, with its simple and strong form, speaks to a need for stability and resilience. Cambodian Buddhism, developed during the Khmer Empire, was heavily influenced by both Hinduism and Mahayana Buddhism, and the art reflects that mix. In this way, the Cambodian Buddha becomes a symbol of strength in the face of life’s challenges. Meanwhile, the Thai Buddha, with its flame-like usnisha and graceful feminine features, represents a more transcendent approach to life. It reminds me that even after everything, peace and serenity are possible.

Ian Mabbett suggests that “the cultural divergence in Buddhist imagery between Thailand and Cambodia reflects each society’s historical priorities and spiritual emphasis” (72). In other words, these statues don’t just represent religious figures, they symbolize cultural values that have developed over centuries. The Cambodian Buddha’s groundedness is a testament to resilience, while the Thai Buddha’s serene smile and divine flame embody the pursuit of inner peace.

Reflecting on My Own Journey

These statues don’t just teach me about Cambodian and Thai art, they mirror my own struggles and goals. The Cambodian Buddha’s strength resonates with my need for resilience as I navigate life after prison. I’ve had to draw on a lot of inner strength to endure the challenges of reentry, and the grounded, solid form of the Cambodian Buddha feels like a symbol of that journey. At the same time, the Thai Buddha’s peaceful expression and upward flame remind me that there’s more to life than just surviving. It encourages me to look for moments of peace and to try to let go of the past.

Amistad, with its collection of art and nature, has given me a space to reflect on these things. Carol Stratton notes that “art in a therapeutic space can bridge personal trauma and collective memory, facilitating a sense of connection and resilience” (Stratton and Scott 88). For me, the art at Amistad isn’t just decoration, it’s a guide, helping me find balance in my new life.

Conclusion

The Cambodian and Thai Buddha heads at Amistad are more than just art pieces. They’re symbols of two different ways of interpreting Buddhism—one focused on resilience and grounded-ness, the other on transcendence and peace. These statues have helped me understand not only the cultures they come from, but also myself. Amistad’s art collection, with its integration of cultural symbols and therapeutic spaces, has become a powerful tool in my journey toward healing. Each Buddha head, with its unique style and symbolism, represents qualities I’m striving to bring into my life: the strength to endure and the peace to move forward.”

Works Cited

Jessup, Helen Ibbitson, and Thierry Zephir. Angkor: Khmer Art in Cambodia. Metropolitan Museum of Art, 1997.

Leidy, Denise Patry. The Art of Buddhism: An Introduction to Its History and Meaning. Shambhala Publications, 2008.

Mabbett, Ian. “Buddhism in Thailand and Cambodia.” Buddhism, Imperialism and War: Burma and Thailand in Modern History, edited by Ian Harris, Routledge, 2008, pp. 66–82.

Stratton, Carol, and Miriam McNair Scott. Buddhist Sculpture of Northern Thailand. Serindia Publications, 2004.

Williams, Mary M. Art Therapy in Rehabilitation: Effects on Personal Well-Being and Social Integration. Creative Arts Publications, 2015.

Woodward, Hiram W. The Sacred Sculpture of Thailand: The Alexander B. Griswold Collection, The Walters Art Gallery. The Walters Art Gallery, 1997.